CHORAL SCENES IN THE EMBODIMENT OF THE REBIRTH CONCEPT IN BORYS LYATOSHYNSKY’S OPERA «THE GOLDEN RING»

Abstract

The article analyses the role of choral scenes in the embodiment of the Rebirth concept in Borys Lyatoshynsky’s opera «The Golden Ring». Modern musicology is at the stage of active understanding of the national classical heritage through the prism of ethnocultural identity and new stage interpretations. In this context, the figure of Borys Lyatoshynsky and his operatic work, in particular the opera «The Golden Ring», appear as representative objects for studying the processes of folklore synthesis sources with modern composerʼs language. The purpose of the article is to reveal the role of choral scenes in the embodiment of the Rebirth archetype concept in Borys Lyatoshynsky’s opera «The Golden Ring». The research methodology is based on a combination of cultural studies, method and holistic musicological analysis. Scientific novelty: analysis of the cultural meanings in Borys Lyatoshynsky’s opera «The Golden Ring» through the prism of highlighting the role of choral scenes in the embodiment of the Rebirth concept. Conclusion. The opera demonstrates a consistent and artistically balanced portrayal of the Carpathian-Rusyn ethnic group, which is made particularly convincing by the dominance of choral scenes. It is the choir that becomes the main means of representing the folk environment, its historical memory, mental attitudes and collective worldview. The com- poser creates a multidimensional sound panorama that combines emotional confession, everyday liveliness, and ritual and ceremonial elements of traditional culture. In this context, the choir acts not only as a musical element, but also as a fundamental means of revealing the idea of community, which determines the trajectory of the entire dramatic develop- ment of the opera. Thus, choral semantics performs a conceptually defining function in the opera. The choir appears as a generalised image of the community – a collective subject of action that not only comments on events but also shapes the semantic space of the opera. With the help of developed polyphony, alternating unison and polyphonic textures, the rhythmic energy of kolomyika formulas and characteristic modal-intonational turns, the composer achieves a high level of ethno-stylistic authenticity. At the same time, these means do not literally copy folklore, but transform it using the tools of professional compositional language, which gives the choral numbers artistic generality. Of particular impor- tance is the choirʼs ability to convey the various emotional states of the community – from concentrated lyricism to tragedy and energetic life affirmation, which is key to the embodiment of the idea of Rebirth.